Tag: chiptune

When working on my Undertale tribute album I was happy to be making new versions of Spider Dance, Bonetrousle, MEGALOVANIA and 8 other wonderful compositions by Toby Fox. Somehow I didn’t get to include the Song That Might Play When You Fight Sans.

Since I think it’s a wonderful “rocker” I made a new version of it, trying to combine some smooth chiptune synths with raging heavy metal guitar solo parts. Containing the roughest guitar parts compared to all the 500 tracks I made so far… 🙂 I hope you like it!

More than a decade after its last numbered predecessor, “Mega Man 9” was ushered into the gaming world on a sea of applause and fanboyish glee — and maybe more than a little fanboyish drool. Released for multiple platforms in 2008, MM9 was a loving callback to the 8-bit platformers adored by many a nerd back in the far-off time of the 1980s. The same could certainly be said for its soundtrack, which manages to create an unusual, but no less unique blend of bleeps and bloops old and new that were tailor-made for nostalgia.

The game opens, appropriately enough, with the track “Opening 1,” a soft, almost sweet melody that serves as a peaceful callback to the Mega Man of yesteryear. This immediately (and seamlessly) moves into “Opening 2,” an oddly reflective piece with a funky beat.

Of course, it’s not Mega Man without some memorable robot master themes. Of particular note is “Splash Blue,” a hypnotic accompaniment to the equally hypnotic Splash Woman. The heavy reverb, reminiscent of a surging tide, immediately calls to mind the beauty of the ocean blue. Galaxy Man’s theme, “Galaxy Fantasy,” is among the fastest-paced tracks in the game and always a blast to listen to.

But if I had to pick a favorite, it would be “We are the Robots”, which is the title for the Dr. Wily Stage 2 theme in this game. It has the absolute feeling of a doomy heavy metal track, performed with 8-bit machines. I tried to capture it’s vibe and make the most out of this beautiful composition over here.

“Mega Man 9’s” soundtrack manages to package the nostalgic charm of the NES classics with the hyper-polished presentation of modern triple-A platformers, maintaining its own identity even with sounds lovingly appropriated from another time in gaming history.

“Castlevania” quickly made a name for itself after its 1986 release for the Nintendo Entertainment System, spawning a decades-running series of action-platformers that helped perfect and popularize a hereto unheard of genre. Vampire hunting was certainly nothing new at the time, but “Castlevania” made it original again with the whip-wielding Simon Belmont as he braved Dracula’s castle to put an end to the infernal count’s life.

The music of “Castlevania” was composed by both Kinuyo Yamashita and Satoe Terashima, two veteran musicians who made a name for female video game composers in a time and place when such were rare, though the two worked independently of each other and never fully collaborated on their tracks.

Overall, Castlevania’s soundtrack is surprisingly funky and upbeat for an action game that pits you against the horrors of the undead. From beginning to end, the melodies and percussion will leave you humming even as the unforgiving onslaught of unholy aberrations will make you want to throw your controller in frustration.

Vampire Killer — the theme of the first stage — beautifully illustrates the excitement of the treacherous journey ahead. Another noteworthy track — stage sixteen’s “Out of Time” — managed to cram a lifetime’s worth of thrills into a thirty-second loop. And “Wicked Child” came to be one of the series all-time greatest hits. I hope I’ve honored the Konami Classics on this album. Please listen for yourself and I’d be happy to hear what you think!

The “Pokemon” series has bridged the generational gap since its introduction in the late ’90s, sporting some of the most subtly addictive gameplay this side of modern mobile titans and soundtracks that has resonated with adults and children alike. For the time, few games could contain such a raw sense of exploration or adventure, and we had the soundtracks to thank for building up such a strong atmosphere.

“Pokemon Gold” and “Pokemon Silver,” originally released in Japan for the Nintendo GameBoy in 1999, perfected the template laid out by their predecessors “Red,” “Yellow,” and “Blue.” More Pokémon, more areas to explore, new items to use or discover, and some new gameplay mechanics to smooth out the rough edges of the earlier titles — they had everything a good sequel should, including a phenomenal soundtrack collaboratively composed by Junichi Masuda and Go Ichinose.

Notable tracks include the New Bark Town theme, a soft, peaceful melody only hinting at the grand adventure to come; the Azalea Town theme with it’s soothing atmosphere; and the Goldenrod City theme, a uniquely “urban” track that meshed well with the town’s casino and hidden Team Rocket hideout.

Of course, one cannot mention an early “Pokémon” soundtrack without paying tribute to the Route 27 theme, a booming and triumphant track (by Gameboy standards) that firmly reminds the player they are indeed exploring the famed Kanto region. And with almost two hours of music packed onto one bulky brick cart.

I’ve tried to include the best songs from the game into one tribute album. I hope it will help you to re-live the raw spirit of adventure from Pokémon in the early Game Boy days!